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Made available in DSpace on 2014-06-11T19:26:36Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-02Bitstream added on 2014-06-13T19:54:43Z : No. of bitstreams: 1 comiran_f_me_assis.pdf: 492785 bytes, checksum: d1d8d4a0d4598b20ba7ebff583d16140 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Na segunda década do século XIX, a região platina, zona de intersecção entre os impérios lusitano e hispânico na América Meridional ao longo de já alguns séculos, tornou-se palco, dentro da força motriz das independências hispano-americanas, de uma onda de movimentos e agitamentos políticos contundentes: o próprio processo independentista bonaerense, o movimento federalista de José Gervásio Artigas e, articulando-se a tais episódios, o sempre presente projeto português de ocupação da Banda Oriental, o qual foi materializado com as intervenções de 1811 e 1816. Neste trabalho serão apresentados os contextos políticos que cercavam os espaços políticos envolvidos nestas duas ações militares de Portugal. A Europa era afetada pelos ideais e práticas do imperialismo napoleônico e na península ibérica a crise política se aprofundava ao mesmo tempo em que os movimentos de resistência cresciam. A região platina, por sua vez, recebia as influências políticas desse cenário: a crise de legitimidade dinástica após o aprisionamento de Fernando VII, os movimentos revolucionários e o audaz projeto de Carlota Joaquina para se tornar Regente da Espanha formaram um ambiente propício para que a diplomacia portuguesa tornasse o antigo projeto expansionista lusitano uma realidade. Assim, neste trabalho buscar-se-á reconstruir os episódios políticos que cercaram e, até mesmo, motivaram as duas intervenções portuguesas na Banda Oriental do Uruguai. / During the second decade of the XIX century, the platine region intersecting the Portuguese and Spanish empires in the Meridional America, as a result of Spanish and American independence, became the center of a wave of important political movements and agitations: the independence actions in Buenos Aires, the federalist campaign of José Gervásio Artigas, and, cunningly articulated with such events, the permanently present Portuguese project of occupying the Eastern Zone, which was materialized by interventions that took place in 1811 and 1816. The political context associated to the political spaces involved in these two military actions undertaken by Portugal will be presented in this paper. The ideals disseminated by Napoleonic imperialism were affecting Europe, while the political crisis was aggravated and the resistence movements increased in the Iberian peninsula. The platine region was affected by the political actions under way in this such scenario: the dynastic legitimacy crisis following the imprisonment of Fernando VII, the revolutionary movements, and the daring project of Carlota Joaquina to became the Regent of Spain composed a favorable environment for the Portuguese diplomacy to implement its old expansionist project. Therefore, the reconstruction of the political events surrounding – and even motivating – both Portuguese interventions in the Eastern Zone of Uruguay will be sought in this paper.

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Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T07:29:18Z (GMT). No. of bitstreams: 1 Accorsi_RobertoAparecidoZaniquelli_M.pdf: 7996410 bytes, checksum: 5ec8b451dc3d6a8db56e7f8da4cacddc (MD5) Previous issue date: 2011 / Resumo: Sebastiano Ricci tornou-se um pintor de especiais e particulares ações nos mercados de artes de Veneza e da Inglaterra, durante o século XVIII. Ele soube agir como artista e negociador e conseguiu relacionar-se com os principais mecenas do período, em especial com dois dos mais importantes difusores da sua arte: Joseph Smith, Cônsul inglês, e Francesco Algarotti, Conde veneziano - ambos ligados ao processo de difusão e discussão dos princípios racionais associados ao iluminismo europeu. Em cartas enviadas e recebidas pelo artista, e por alguns de seus mecenas, nota-se uma variada abordagem dos meios de compra e venda de obras e arte. As cartas também revelam uma valorização ou redescoberta dos modos e temas da arte de Paolo Veronese, reconhecíveis na obra de Sebastiano Ricci intitulada Arquimedes se recusa a seguir o soldado, pertencente a Fundação Cultural Ema Gordon Klabin, de São Paulo / Abstract: Sebastiano Ricci became a painter of special and private actions around the market of arts from Venice and England, during the XVIII century. He has known how to act as an artist and a negotiator and could relate himself with the main Maecenas of this period, especially with two of the most importants diffusers of his art: Joseph Smith,British Consul, and Francesco Algarotti,Venetian Earl - both connected with the process of propagation and discussion of the rational principles associated with the European Enlightenment. Analyzing letters that were sent and received by the artist and for some of his maecenas, is possible to realize a variety of approach about sorts of arts marketing. These letters show a recovery or a rediscovery about modes and themes of Paolo Veronese's art which can be recognized in the work of Sebastiano Ricci entitled Arquimedes se recusa a seguir o soldado, that belongs to Fundação Cultural Ema Gordon Klabin / Mestrado / Historia da Arte / Mestre em História

Orientador: Jose Alves de Freitas Neto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-13T08:09:24Z (GMT). No. of bitstreams: 1 Sordi_GabrielSouza_M.pdf: 849340 bytes, checksum: 62791fa3cae06b4406b8b3c6de32e1fb (MD5) Previous issue date: 2009 / Resumo: A presente dissertação analisa como foi apresentado o prócer uruguaio José Artigas nos artigos publicados por historiadores, intelectuais e escritores no jornal El País, durante o mês de setembro de 1950, em que se comemorou o centenário de sua morte. Para isso, previamente foram elucidadas questões concernentes ao discurso pátrio latino-americano e à apresentação e rememoração dos heróis responsabilizados pela conquista das independências na América Hispânica - bem como uma análise dos três tomos da obra José Artigas: Alegato Histórico (1909-10), de Eduardo Acevedo Vásquez, que auxiliou a configurar, no início do século XX, a figura de Artigas como herói máximo uruguaio. / Abstract: This study analyses how the uruguaian hero José Artigas was presented in articles published by historians, intellectuals and writers in the newspaper El País, over 1950' september, during the commemoration of his centennial's death. To base the discussion, first was expatietan questions about the latin-american nationalism's discourse and questions about the recall and presentation of the latin-american heroes of the independences from Spanish - beyond a analysis of the three tomes of José Artigas: Alegato Histórico (1909-10), a Eduardo Acevedo Vásquez' work, who helps to configurate in Uruguay, in the beginning of XX' century, the image of Artigas like the utmost uruguaian heroe. / Mestrado / Historia Cultural / Mestre em História

By the early eighteenth century, French music was tangibly influenced by the Italian style which had already permeated much of Europe. The French Cantata is symptomatic of that often disparaged influx. The cantatas of Rameau are a significant contribution to an important form. Written almost entirely in the early years of the artist's career, they hold details of his stylistic development. In the present study of Rameau's cantatas several aspects of his style are discussed as they relate both to his theoretic writings and to the various influences of the time. Examples of those stylistic elements found in the cantatas are cited and discussed. There is, as well, a comparison of the works to the poetic form standardized by Rousseau.

It is assumed that the performer of Le Berger Fidele will be capable of a more accurate performance and a more historically authoritative interpretation if he thoroughly understands all musical aspects of the cantata. Due to the lack of written directions from earlier composers, it is important that the performer research the period, composer, and composition to insure a more accurate, interpretive performance. The first chapter delves into the life and works of Rameau. The second chapter follows the development of the French solo cantata from the beginning of the art song to its culmination. Ornaments peculiar to French cantata are discussed in the third chapter. In Chapter IV each pair of recitative and aria is examined and analyzed according to form, harmony, rhythm, melody (including phrasing), dynamics and ornaments, and instrumentation. The cantata is built up in a succession of three arias. Each aria is da capo in form and is preceded by a recitative and an instrumental introduction. Each air is concluded with an instrumental postlude.

Although the wilderness preservation movement has emerged as a political force relatively recently, man's desire for retreat and renewal in untamed wilderness environments has a rich history in North America. Using contemporary guidetooks, diaries and journals, this study examines the early nineteenth century "Fashionable Tour" from New York City to Niagara Falls and combines description of the most important "natural wonders" en route with an analysis of their cultural meaning and value. There are two major themes. (1) Although pompous religiousness of language suggests conventional religiosity, pilgrims were overwhelmed with feelings of reverence, awe and wonder when face to face with natural wonders. (2) The extravagance of the New World's natural wonders influenced American and European images of the American experiment. Romanticism and Scottish Common Sense Realism are the intellectual and aesthetic background for this study. After some preliminary observations and definitions, I review the widespread importance of these two movements in early America and their points of contact with American sensibilities. Significant iconological moments in the lives of three leading Americans -- John Bartram, Samuel Mitchill and Timothy Dwight -- who donned their tourist habits to visit the Catskill Mountains, illustrate both the diversity of these influences and the beginnings of the Fashionable Tour. Analysis of the tour itself begins with chapter three. From their steamboat, tourists divided the Hudson River Valley into five "reaches" symbolizing grandeur (the Palisades), repose (Tappan Sea), sublimity (the Highlands), picturesqueness (the Hillsides) and beauty (the Catskills). In the first four reaches (chapter 3), the sublime Highlands dominate the landscape. But the "view from the top'' and Kaaterskill Falls at Pine Orchard in the Catskills were the most significant natural wonders in the Hudson Valley. Chapter five introduces Part II: West to Niagara Falls. The overwhelming effect of ongoing European settlement on the wilderness -- on flora, fauna and native Americans -- differentiates the unpredictable trip west from the predictable trip north. At Albany, tourists left their luxurious steamboats and transferred to stagecoaches and/or canalboats. Cohoes Falls, Little Falls and especially Trenton Falls, N. P. Willis' "Rural Resort," highlight the journey from Albany to Utica and suggest greater wonders to come. Images of the wilderness west of Utica comprise chapter seven. "Soft" pastoral landscapes, as in the Finger Lakes Region, did not arouse the intense response that major wonders such as the "view from the top" and Trenton Falls did. Niagara Falls was the climax and conclusion of the pilgrimage. The "greatest natural wonder" known and accessible to early nineteenth century tourists, Niagara elicited a torrent of enthusiasm and verbiage. After a detailed examination of tourist expectations and anticipations, descriptions and dreams, I focus specifically on the religious sentimentality which laced images of Niagara Falls. Pilgrims, responding with awe and protestations of "indescribableness," found evidence to support their popular religiosity. The trip from New York to Niagara was not just a relaxed holiday, but a highly focussed pilgrimage for persons seeking mystery and majesty in the sublime and the beautiful. Niagara, and to a lesser extent the other natural wonders; along the Hudson and across New York State, became religious shrines in early nineteenth century America.